Faye Patton

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Reviews of Faye Patton


01/05/2012 Rock n' Reel

'Smoke-fuelled and chameleon-like, tortured and released, Faye Patton exudes forgotten Jazz. Articulating and punctuating her vocal authority with her independent piano playing, this is a supreme effort of both freeform and choreographed musicianship. Definitely in the jazz pigeonhole, there are elements of highbrow funk in 'Ripped and Torn', boogie woogie musical theatre throughout 'Susan Says' and lounge blues with 'A Game'; and more in between.

The beauty with these overlapping and contrasting styles is that there is no great leap from one track to the next and she makes herself an effective gatekeeper to the concept of the album as a whole. With flute, cello, trumpet and even flugelhorn joining the tales of lost love and, well, more lost love, the songs manage to stay intimate and retain the emphasis on her boundless vocal.' (Gareth Hayes - Rock n' Reel magazine May 2012)


01/04/2008 Isle of Wight Jazz Festival

'Her voice is truly something else - beyond compare.'


01/10/2006 JAZZWISE magazine

'A singer-songwriter with a stylised vocal reminiscent of Tori Amos, with a more Ray Charles influenced Rn'B slant.


24/09/2006 INGO, promoter of Club Wotever

'Whenever Faye plays she gives me goosebumps - her voice is truly remarkable'


06/03/0009 Federica Nardella for SEVEN magazine


'Three years have passed since the release of Faye Patton’s second album, Going Solo. During this time away from the studio, her performances at the Isle of Wight International Jazz Festival, the Jazz Night at Stratford Theatre Royal and Jenny Roditis Loft Salon have confirmed her reputation as a unique Nu-Jazz pianist/vocalist/songwriter, but left her fans starving for new material.

Before we have a chance to enjoy the brand new songs she is currently writing and recording (due for release this year), let us dive back into her intimate and musically chameleonic solo effort.

Every musical artery of Going Solo tastes like candlelight, waves, sunflowers, mountain peaks, abysses and grains of sand. It has the sound of redemption, loss, the irony of love, anger, regret and worship. Meticulous in its description of feelings, in its choice of notes, the vocals climb up on branches of chords which suddenly dilate like pupils onto a sea of new harmonies – tight funk to flowing ballad, in the space of a second. Raw. Naked. Here are Faye’s bones.

Well-known voices perspire from the eleven tracks: she is Tapestry’s Carole, she is Georgia’s Ray, she is Under the Pink’s Tori – she is Faye, full stop. The coherently incoherent melodic shifts reflect her ability to absorb musical universes like earth and rain, conceiving – only herself. It’s not the destination that matters – it’s the transition.

Your Very Own Smile opens the album by letting us sail on its major piano waves to a Carole King-like island – three-chords-bridge to the blues, then back at sea. As Much As I Do is whispered through the night-tinged fears of love – ‘can I convince you to come for the ride? I know you’re feeling sad inside. Let go for a while’. Typically Faye: chords only hinted at for a start, then expanding as a river delta through the progression - a stairway to the semi-tonal descent. Words are caressed, regretted, sighed in A Foolish Fool - the pearl of this album. A careful search for the right notes to deliver an immense weight – a feather calmly whirling through the light of dusk. The playing is minimal in Colour of Me: only the silence is given speech. Her gospel roots are evoked in Glory Glory. It has a choir, though it cannot be heard: each of Faye’s notes is amplified, expanded. That’s her magic: it’s not a woman and her piano, Faye Patton is an orchestra of moods and shades –

‘You will never capture the colour of me’ – absolutely.''

(Federica Nardella - Seven Magazine)


26/01/0007 Mikey J - CD Unsigned

"A fresh aroma of coffeehouse blues, blended carefully with a spoonful of
arthouse and just that subtle flavour of jazz. Perceptive lyrics and
compelling songwriting, set against an acoustic backdrop of musical colour."


12/12/0006 Keith Ames, Musician Magazine


"Pure Versatility...

Faye describes herself as a jazz-inflected singer and songwriter. While there are traces of jazz across her latest offering, 'Going Solo', she reflects a number of influences across the 11 cuts - her versatile vocals and mature piano playing cannot be so easily filed under one genre. Being a stripped-down recording, her writing and personality are to the fore and exhibit a confidence in both her material and performance skills. I liked the dextrous riffs of the title song and the playful blues of 'I've Lost My Baby Now' before being mightily impressed by the late night duskiness of closer 'Season For Everything'."


05/08/0006 Sue McCreeth, UK Jazz Singer


''Eleven songs written and performed by Faye Patton on vocals and piano. She writes really good hooks, not just on the voice but in her piano part too, so its just all there in your head days later. Faye won my heart years ago with her line Theres a woman on the tracks and Im going to lay down by her side. That spirit of empathy is alive as ever in I know the prisoner. This new collection sees Faye laying down her piano grooves as solid gold as ever with richer chords than formerly, and some intricate classically inspired excursions. With warmth, soul, delicacy and an impeccable sense of technique and tuning, she patiently unfolds her stories, from the heart rending A Foolish Fool to the humourous Darling I do. Season for Everything could be a classic jazz blues gem. '' (Reviewer Sue Mccreeth)


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